scholarly journals The Metaphor of Sweetness in Medieval and Modern Music Listening

2021 ◽  
Vol 39 (1) ◽  
pp. 63-82
Author(s):  
Jason Stoessel ◽  
Kristal Spreadborough ◽  
Inés Antón-Méndez
Keyword(s):  
Implicit Associations ◽  
Music Listening ◽  
Modern Music ◽  
Aesthetic Responses ◽  
Medieval Music ◽  
Musical Excerpt ◽  
Musical Excerpts ◽  
Perception Model ◽  
The Common ◽  
The Aesthetic

Historical listening has long been a topic of interest for musicologists. Yet, little attention has been given to the systematic study of historical listening practices before the common practice era (c. 1700–present). In the first study of its kind, this research compared a model of medieval perceptions of “sweetness” based on writings of medieval music theorists with modern day listeners’ aesthetic responses. Responses were collected through two experiments. In an implicit associations experiment, participants were primed with a more or less consonant musical excerpt, then presented with a sweet or bitter target word, or a non-word, on which to make lexical decisions. In the explicit associations experiment, participants were asked to rate on a three-point Likert scale perceived sweetness of short musical excerpts that varied in consonance and sound quality (male, female, organ). The results from these experiments were compared to predictions from a medieval perception model to investigate whether early and modern listeners have similar aesthetic responses. Results from the implicit association test were not consistent with the predictions of the model, however, results from the explicit associations experiment were. These findings indicate the metaphor of sweetness may be useful for comparing the aesthetic responses of medieval and modern listeners.

scholarly journals Cultural Rights of Traditional Musicians in Ethiopia: Threats and Challenges of Globalisation of Music Culture

2015 ◽  
Vol 2 (4) ◽  
pp. 315-326
Author(s):  
R.N. Pati ◽  
Shaik B. Yousuf ◽  
Abebaw Kiros
Keyword(s):  
Western Music ◽  
Music Culture ◽  
Cultural Changes ◽  
Modern Music ◽  
Culture Industries ◽  
Cultural Rights ◽  
Traditional Songs ◽  
The Aesthetic ◽  
Local Traditions ◽  
Music Tradition

Ethiopia upholds unique cultural heritage and diverse music history in entire African continent. The traditional music heritage of Ethiopia has been globally recognized with its distinct music culture and symbolic manifestation. The traditional songs and music of the country revolves around core chord of their life and culture. The modern music of Ethiopia has been blended with combination of elements from traditional Ethiopian music and western music which has created a new trend in the music world. The music tradition of the country not only maintains the cultural identity but also maintains social cohesion through cultural expression at different social occasions and resists cultural changes infused through globalization. The globalization has brought a series of transformation and changes in the world of Ethiopian music through commercialization, commodification and digitalization of cultural expressions apart from hijacking the cultural rights of traditional musicians. The younger generations have been attracted towards western music undermining the aesthetic and cultural value of music tradition of the country. The international enactments relating to protection and safeguarding of cultural rights of people are yet to be appropriately translated into reality. The emergence of culture industries and entertainment houses has posed serious threats to local culture and led to disappearance of local traditions, musical heritage and their replacement by popular global music. The cultural homogeneity and commodification has replaced the multiplicity of cultures in this globalized era. This paper based on review of published articles and content analysis critically unfolds sensitive areas of cultural shock and violation of cultural rights exposed to traditional musicians and traditional singers of Ethiopia during last couple of decades.Int. J. Soc. Sci. Manage. Vol-2, issue-4: 315-326

ON THE ISSUE OF THE “ROCK POETRY WORD” IN CONTEMPORARY RUSSIAN NOVEL. THE WORLD OF BORIS GREBENSHCHIKOV IN THE WORLD OF “DREAMS SWIMMER” BY LEV NAUMOV

2021 ◽  
pp. 96-111
Author(s):  
Yurii V. Domanskii ◽  
Keyword(s):  
Common Denominator ◽  
Russian Novel ◽  
The World ◽  
The Common ◽  
The Aesthetic ◽  
Modern Russian

The article deals with references to the work of Boris Grebenshchikov in the “Dreams Swimmer” by Lev Naumov “The swimmer of dreams” (2021). The common denominator of the system of these references is the aesthetic character of the hero’s understanding of himself in the world and the world in relation to himself, which, if not directly leads the hero to the idea of his own chosenness, then at least is a symptom of the emergence of this idea. As a result, the system of references to the songs of “Aquarium” in Naumov’s novel makes it possible to interpret the character’s worldview as a worldview based on the aesthetic concept of understanding reality. The example of the appeal of a modern Russian novel to the “word of rock” considered in the article allows us to make sure that such an inclusion contributes to the disclosure of the specifics of the character’s worldview, and the analysis of this appeal brings one closer to a deeper understanding of the text.

The Interplay of Set Content and Temporal Context in a Functional Theory of Tonality Perception

1988 ◽  
Vol 5 (3) ◽  
pp. 219-249 ◽  
Author(s):  
Helen Brown
Keyword(s):  
Structural Characteristics ◽  
Perceptual Cues ◽  
Tonal Music ◽  
Critical Feature ◽  
Functional Interpretation ◽  
Pitch Class ◽  
Functional Relationships ◽  
Musical Excerpt ◽  
Musical Excerpts ◽  
Pitch Class Sets

The purpose of this study was to provide evidence for the perceptual component of an analysis of pitch relationships in tonal music that includes consideration of both formal analytic systems and musical listeners' responses to tonal relationships in musical contexts. It was hypothesized (1) that perception of tonal centers in music develops from listeners' interpretations of time-dependent contextual (functional) relationships among pitches, rather than primarily through knowledge of psychoacoustical or structural characteristics of the pitch content of sets or scales and (2) that critical perceptual cues to functional relationships among pitches are provided by the manner in which particular intervallic relationships are expressed in musical time. Excerpts of tonal music were chosen to represent familiar harmonic relationships across a spectrum of tonal ambiguity/specificity. The pitch-class sets derived from these excerpts were ordered: (1) to evoke the same tonic response as the corresponding musical excerpt, 2) to evoke another tonal center, and (3) to be tonally ambiguous. The effect of the intervallic contents of musical excerpts and strings of pitches in determining listeners' choices of tonic and the effect of contextual manipulations of tones in the strings in directing subjects' responses were measured and compared. Results showed that the musically trained listeners in the study were very sensitive to tonal implications of temporal orderings of pitches in determining tonal centers. Temporal manipulations of intervallic relationships in stimuli had significant effects on concurrences of tonic responses and on tonal clarity ratings reported by listeners. The interval rarest in the diatonic set, the tritone, was the interval most effective in guiding tonal choices. These data indicate that perception of tonality is too complex a phenomenon to be explained in the time-independent terms of psychoacoustics or pitch- class collections, that perceived tonal relationships are too flexible to be forced into static structural representations, and that a functional interpretation of rare intervals in optimal temporal orderings in musical contexts is a critical feature of tonal listening strategy.

scholarly journals Aesthetic Pleasure in the Worship of the Jina: Understanding Performance in Jain Devotional Culture

Religions ◽  
2019 ◽  
Vol 10 (4) ◽  
pp. 251
Author(s):  
Aleksandra Restifo
Keyword(s):  
Aesthetic Pleasure ◽  
The Common ◽  
Canonical Text ◽  
The Aesthetic ◽  
Common Era

Performance has long been recognized to be a meaningful component in the worship of the Jina. This paper will focus on a particular aspect of devotional performance and historicize the phenomenon of ritual re-enactment of the Jina’s biography, a practice that remains significant to temple worship today. This paper will argue that the performance of the enlightened soul’s biography was familiar to Jains already in the early centuries of the common era and was not confined to the five auspicious events (kalyāṇakas). In a Śvetāmabara canonical text called the Rāyapaseṇiyasutta, this re-enactment is part of a greater, highly pleasurable spectacle that evokes a variety of aesthetic emotions, including erotic emotion, in the audience of monks. Through this discussion I will question the dichotomies between aesthetic pleasure and ritual efficacy and between drama and meritorious conduct and show that aesthetic pleasure, which lies at the heart of Jina worship, defines its meritorious value in the eyes of the devotees. The more splendid and aesthetically pleasing one’s expression of devotion, the more efficacious it is believed to be. I propose that the significance of the aesthetic element in devotional performance for laypeople stems from their temporary transformation into gods and goddesses. Celestial beings, as the paradigmatic enjoyers (bhoktṛ) of sensual pleasures, spend their life-spans relishing joy and rapture. As such, the pleasurable experiences of laypeople are essential for the veracity of their ritual transformation.

ARTISTIC IMAGES OF S. SIROTIN'S POEM "THE DEATH OF IVAN THE TERRIBLE": SATIRICAL TRAGIC ASPECT

2021 ◽  
Vol 1 (1) ◽  
pp. 59-67
Author(s):  
Ye. V. Beriglazova ◽  
Keyword(s):  
Conceptual Level ◽  
Modern Music ◽  
Musical Characteristics ◽  
Mixed Choir ◽  
Artistic Images ◽  
Ivan The Terrible ◽  
The Aesthetic

The work of the Russian composer Sergei Ivanovich Sirotin (1941–2014) occupies a unique niche in modern music. However, there is not much information either about the composer or about his choral work. The article focuses on Sirotin's poem "The Death of Ivan the Terrible" written for a mixed choir. The essay chosen for research clarifies the degree of reflection of the aesthetic categories of the tragic and the comic. The author analyzes the artistic images through the prism of these categories. Special attention is paid both to the identification of the tragic beginning in plot collisions of the work and its images, and to the comic in its various forms. The choral poem presents elements of folk laughter culture (parody, grotesque), as well as a character that performs a carnival and ritual function. In conclusion, the author states that the images embodied in the poem are the bearers of both tragic and satirical tragic elements, and indicates the features of musical characteristics that contribute to their expression in artistic images. It is argued that at the conceptual level of the work, the tragic and satirical tragic beginnings are opposed to each other.

scholarly journals Judicial diversity, the woman judge and fairy tale endings

Legal Studies ◽  
2007 ◽  
Vol 27 (1) ◽  
pp. 74-94 ◽  
Author(s):  
Erika Rackley
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Common Law ◽  
The Political ◽  
Narrative Strategies ◽  
Starting Point ◽  
Rational Thought ◽  
The Common ◽  
The Aesthetic ◽  
Woman Judge

The story of the woman judge as one of exclusion and isolation plagued with allegations of bias is well documented. Interestingly, despite significant differences in time and place, a common theme unites these tales: the woman judge is a dangerous outsider, a threat to the aesthetic norm. The judicial climate, at least in most of the common law world, is somewhat chilly: reactions to her presence on the bench vary from the largely indifferent to the downright hostile. Why is this? After all, most people, perhaps acknowledging the political and democratic gains underlying calls for a more representative judiciary, would wish to encourage – or at least not discourage – judicial diversity.Taking the stories of the woman judge as its starting point, this paper contends that underlying these tales is an image of the judge that is as much intuitive as it is reasoned; that our understanding of the judge and judging is as much derived from the imagination as from what is conventionally considered as rational thought. Thus, the paper deploys the narrative strategies of fairy tales in an attempt to disrupt the imaginative hold of familiar yet particular images that infuse and distort current discourses on adjudication. It suggests that despite the Department for Constitutional Affairs’ ongoing quest to increase diversity within the judiciary, current initiatives do not confront fully these instinctive images. As a result, their narrative of inclusiveness and difference fails. In response, the paper appeals to the imagination as a route toward engendering new conceptions on the judge and judging, the possibility of truly diverse judiciaries and, perhaps, a fairy tale ending to the woman judge’s story.

scholarly journals Dewey After the End of Art

2020 ◽  
Vol 17 (2-3) ◽  
pp. 146-169
Author(s):  
Roberta Dreon
Keyword(s):  
Summer School ◽  
Aesthetic Experience ◽  
Community Life ◽  
Theoretical Level ◽  
The Arts ◽  
The Common ◽  
End Of Art ◽  
Art As Experience ◽  
The Aesthetic

This article explores the significance of Hegel’s aesthetic lectures for Dewey’s approach to the arts. Although over the last two decades some brilliant studies have been published on the “permanent deposit” of Hegel in Dewey’s mature thought, the aesthetic dimension of Dewey’s engagement with Hegel’s heritage has not yet been investigated. This inquiry will be developed on a theoretical level as well as on the basis of a recent discovery: in Dewey’s Correspondence traces have been found of a lecture on Hegel’s Aesthetics delivered in 1891 within a summer school run by a scholar close to the so-called St. Louis Hegelians. Dewey’s deep and long-standing acquaintance with Hegel’s Aesthetics supports the claim that in his mature book, Art as Experience, he originally appropriated some Hegelian insights. First, Dewey shared Hegel’s strong anti-dualistic and anti-autonomistic conception of the arts, resisting post-Kantian sirens that favored instead an interpretation of art as a separate realm from ordinary reality. Second, they basically converged on an idea of the arts as inherently social activities as well as crucial contributions to the shaping of cultures and civilizations, based on the proximity of the arts to the sensitive nature of man. Third, this article argues that an original re-consideration of Hegel’s thesis of the so-called “end of art” played a crucial role in the formulation of Dewey’s criticism of the arts and of the role of aesthetic experience in contemporary society. The author suggests that we read Dewey’s criticism of the removal of fine art “from the scope of the common or community life” (lw 10, 12) in light of Hegel’s insight that the experience of the arts as something with which believers or citizens can immediately identify belongs to an irretrievable past.

scholarly journals Empathy and Emotional Contagion as a Link Between Recognized and Felt Emotions in Music Listening

2012 ◽  
Vol 31 (2) ◽  
pp. 139-156 ◽  
Author(s):  
Hauke Egermann ◽  
Stephen McAdams
Keyword(s):  
Emotional Expression ◽  
Emotional Response ◽  
Emotional Contagion ◽  
Music Listening ◽  
Personality Test ◽  
Web Based ◽  
Musical Excerpts ◽  
Major Predictor ◽  
The Difference ◽  
Valence And Arousal

Previous studies have shown that there is a difference between recognized and induced emotion in music listening. In this study, empathy is tested as a possible moderator between recognition and induction that is, on its own, moderated via music preference evaluations and other individual and situational features. Preference was also tested to determine whether it had an effect on measures of emotion independently from emotional expression. A web-based experiment gathered from 3,164 music listeners emotion, empathy, and preference ratings in a between-subjects design embedded in a music-personality test. Stimuli were a sample of 23 musical excerpts (each 30 seconds long, five randomly assigned to each participant) from various musical styles chosen to represent different emotions and preferences. Listeners in the recognition rating condition rated measures of valence and arousal significantly differently than listeners in the felt rating condition. Empathy ratings were shown to modulate this relationship: when empathy was present, the difference between the two rating types was reduced. Furthermore, we confirmed preference as one major predictor of empathy ratings. Emotional contagion was tested and confirmed as an additional direct effect of emotional expression on induced emotions. This study is among the first to explicitly test empathy and emotional contagion during music listening, helping to explain the often-reported emotional response to music in everyday life.

Sign in / Sign up

Export Citation Format

Share Document